Kill Bill: Vol. 1 (2003)
“I want him to witness the extent of my mercy by witnessing your deformed body.”
Let’s imagine that instead of sending a handful of investigators from the ATF and the Chemical Safety Board to West, Texas, we marshaled every local, state and federal resource available to discover the exact sequence of events that led to the explosion. Let’s imagine that the question—Why?—became so urgent that the nation simply could not rest until it had overdetermined the answers. We’d discover that OSHA hadn’t inspected the plant in 28 years—did this play a role in the disaster? If it’s found that the company that owns the plant, Adair Grain, violated safety regulations, as it had last year at another facility, we might call it criminal negligence and attribute culpability. But would we ascribe ideology? And which ideology would we indict? Deregulation? Austerity? Capitalism? Would we write headlines that say—Officials Seek Motive in Texas Fertilizer Explosion? And could we name “profit” as that motive in the same way that we might name, say, “Islam” as the motive for terrorism? Would we arrest the plant’s owners, deny them their Miranda rights and seek to try them in an extra-legal tribunal outside the Constitution, as Senator Lindsey Graham has suggested we treat US citizen Dzhokhar Tsarnaev? Would we call for a ban on the production of ammonium nitrate and anhydrous ammonia? Would we say that “gaps and loopholes” in our nation’s agricultural policies were responsible for the tragedy, as Senator Chuck Grassley has suggested about immigration in the Boston bombing case?
No, we won’t. We won’t do any of these things, because even if the West fertilizer plant disaster is ultimately understood as something more than “just an accident,” it will still be taken as the presumed cost of living in a modern, industrialized economy.
― Richard Kim, “Boston, West, Newtown: For Whom the Bells Toll, For Whom the Alarms Ring” (via thenationmagazine)
Sounds like someone has a case of “nice guy” syndrome :P
ugh…. gross…
misogynists masquerading as “nice guys”
nope and nope
Sooooo… is the message the Nice Guy™ photoshop wizard is trying to convey that “Good Guys” are an alien species that feels entitled to invade the women’s space for its own edification, while the “Asshole” is a companion species that offers a mutually beneficial relationship?
They may have accidentally had a moment of self-awareness.
Pretty sure the “good guy” also eats those fish, hence why they’re avoiding him. The “asshole” doesn’t eat those fish and is pretty gentle to them, hence why they feel safe enough to hold onto them. What a nice asshole.
I expected this post to be so bad
And it was so good
Accidental irony is so, so delicious.
HAAAA
(Source: danishrene)
“There are two scenes in Spirited Away that could be considered symbolic for the film. One is the first scene in the back of the car, where she is really a vulnerable little girl, and the other is the final scene, where she’s full of life and has faced the whole world. Those are two portraits of Chihiro which show the development of her character.” (Hayao Miyazaki)
(Source: mochichou)
‘SKIN {Gimme Some}’ Shoot, MissFit Magazine Issue 2, 2011
Photography: Vic Lentaigne
Models: Harmony Boucher & Polly Spencer
Styling: Amber Upton
I want those cherry red Doc Martens SO MUCH.
Gendry has Robert’s strength, Stannis’ stubbornness, Renly’s easy laugh. And though he doesn’t carry the name. He is a true Baratheon by blood.
More pics from my photo shoot last weekend!!!!
Chola Femmes like whaaat.
Yes.
“People are looking at you, Katniss. You’ve given them an opportunity, they just have to be brave enough to take it.”
(Source: samwinchters)
One of my favourite pieces by Roger Ebert is his “Great Movies” appreciation of Spirited Away (read it in full here). At the end of the piece he details an encounter he had with Hayao Miyazaki himself, where Miyazaki defines one of the key differences between the work of Studio Ghibli and mainstream American animation. I can see his words relating to comics as well, and these words are well-worth reading for any creative and parent.
Here is the excerpt from Ebert’s piece:
I was so fortunate to meet Miyazaki at the 2002 Toronto film festival. I told him I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or sigh, or gaze at a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.
“We have a word for that in Japanese,” he said. “It’s called ‘ma.’ Emptiness. It’s there intentionally.” He clapped his hands three or four times. “The time in between my clapping is ‘ma.’ If you just have non-stop action with no breathing space at all, it’s just busyness.”
I think that helps explain why Miyazaki’s films are more absorbing than the frantic action in a lot of American animation. “The people who make the movies are scared of silence” he said, “so they want to paper and plaster it over,” he said. “They’re worried that the audience will get bored. But just because it’s 80 percent intense all the time doesn’t mean the kids are going to bless you with their concentration. What really matters is the underlying emotions—that you never let go of those.
“What my friends and I have been trying to do since the 1970’s is to try and quiet things down a little bit; don’t just bombard them with noise and distraction. And to follow the path of children’s emotions and feelings as we make a film. If you stay true to joy and astonishment and empathy you don’t have to have violence and you don’t have to have action. They’ll follow you. This is our principle.”
He said he has been amused to see a lot of animation in live-action superhero movies. “In a way, live action is becoming part of that whole soup called animation. Animation has become a word that encompasses so much, and my animation is just a little tiny dot over in the corner. It’s plenty for me.”
It’s plenty for me, too.
Tegan & Sara perform ‘Closer’ on The Tonight Show, wearing pink and red in support of marriage equality and HRC. [x]
Tegan…
(Source: bettymcrae)
The most impressive diva of Italian silent film, Pina Menichelli.
http://en.wikipedia.org/wiki/Pina_Menichelli
I’ve always been impressed by Pina’s complete contempt for her great talent, fame and wealth. After becoming a world-famous, severely otherworldly femme-fatale of the silver screen, she married, left the film business, burned every photo and document she could get her hands on, and never said a word about cinema for the next sixty years of her long life.
